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The Style of Gita Govinda Recital and Odissi Music

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The Style of Gita Govinda Recital and Odissi Music International Journal of Humanities and Social Science Invention ISSN (Online): 2319 – 7722, ISSN (Print): 2319 – 7714 www.ijhssi.org ||Volume 4 Issue 10 || October. 2015 || PP.40-43 The Style of Gita Govinda Recital and Odissi Music Dheeraj Kumar Mohapatra Guest Faculty, Odissi Vocal Department, Utkal University Of Culture, India ABSTRACT : In Gita Govinda, Sri Jayadeva has embellished the philosophy, metaphysics, ontology and mysticism in erotic words, melodious versifications, ardent love pictures and pornography delineating the clandestine love of Radha and Krishna. It points to union of natural beings with super nature. Jayadeva Radha is not only radiant, fascinating or angelic, she represents celestial beauty and her union with Krishna, an incarnation of Lord Vishnu, unfolds supreme love and eternal delight. One does not require surveying the history, delving deep into texts and characteristic features of Odissi system to understand its classy style if he at least reads and listens to Gitagovinda of Sri Jayadeva. As this sacred piece of lyrical poem contains all the salient and distinguishing features of classical music, the reader or listener must appreciate the uniqueness and wholesomeness of Odissi as the third system of classical music in the domain of Indian music. Sri Jayadeva has not only originated a specific music tradition, systematic form and definite melodic pattern, raga-tala repertoires but also built a socio-cultural community. The purity, sanctity and characteristic features of Odissi music have been enriched refined and pervaded its horizon through Gitagovinda of Sri Jayadeva. KEYWORDS: JAYADEVA, GITA GOVINDA, ODISSI, MUSIC, CLASSICAL Introduction Music is an integral part of human life, which is created when the vibratory waves are brought into melodious audible notes in material form. Human beings are consciously or unconsciously tuned into the vibration of the cosmos. In each walk of life, music is judged as the best among 64 types of arts. The architects express through their architecture for a utilitarian purpose, the painters express to represent the visible, the poets express through the medium of words for communication, where musicians express their consciousness through notes, tunes, beats and rhythms not only for the purpose to please but also to enlighten through entertainment. The ultimate objective of music is to produce aesthetic emotions creating a sense of spiritual love, supreme beauty, eternal peace and inner pleasure. Gita Govinda in one sense means song of Govinda, in other sense Gita is Govinda. To sing Gita Govinda means to worship Govinda or Lord Jagannatha. The supreme love between Lord Krishna and Radha has been enshrined in earthly mould. Gita Govinda is the quintessence of love between Radha and Krishna or human being with super being. Jayadeva has engirdled the transcendence with the transient in simple Sanskrit grandiloquence of Gita Govinda. The symphonic syntax set in rhymes, rhythms and ragas fascinates each reader and listener with ecumenical predilection. The sensuous and melodious effects of this superb, unparalleled piece of lyrical literature and classical music transgress all human heart, mind and soul. In this classic work, the poets milieu has established relevance to present and future generations in different cultural contexts. Therefore poet Mahipati declares Sri Jayadeva as an incarnation of Vyasa. Jayadeva has prescribed particular Ragas and Talas for each song. But he has not depicted the characteristic features of these Ragas & Talas. The ragas used in Gita Govinda are Malav, Gurjari, Vasanta, Ramakeri, Malavagouda, Gundakeri, Karnata, Desakhya, Desa Varadi, Vairaba, Bivasa and the talas are Rupaka, Nihsara, Jati, Ekatali, Astatali, etc. These ragas and talas are suitable for romantic sentiment. The timings of recital of Odissi Ragas synchronise with different seasonal festivals of Odissa. For example, it is enjoined that Vasant raga be recited at any time between Sri Panchmi and Vishnu Sayana and Malabashree from Indra Puja to Durga Puja. In 13th century, Sarangadev has identified some Kriyanga ragas and adhuna prashiddha ragas, which include the ragas of Gita Govinda. Due to non-availability of his treatise Raga- Tala Lakhyana it is inscrutable to know the gamut of the notes of the ragas and beats of the talas and their characteristic features. However, we find their characteristic features from the poetic translation of Gita Govinda by Dharani dhara Dash of 16th century. There-in he has mentioned the features of Jayadeva ragas. It is observed that these features are found same with the lakhyanas narrated by Sri Harichandana in Sangeeta Muktabali written in the last decade of the 16th century. There-from we get clear and correct features of the ragas. By 14th century, the ragas of Gita Govinda had become so popular throughout India that, Lochana Pandit of Mithila in 14th century distinguished some ragas used according to Jayadeva�s tradition such as Jayadevaideshakhya and Jayadevairamakeri. etc. Now we are demanding Odissi music to be classical basing on ragas and talas of Gita Govinda and Sri Jayadeva as the progenitor. www.ijhssi.org 40 | P a g e The Style Of Gita Govinda Recital Sri Jayadeva has composed illustrious Gita Govinda as per the specification of Udramagadhi Prabrutti that is mentioned in Natya Shastra of Bharat muni set in Ardhamagadhi padasrita giti, Bhinna Swarasrita giti and Navatalasrita giti which point to present day Odissi music. One has to acknowledge that the Gita Govinda was written in order to be sung before Lord Jagannath exclusively. Jayadeva was an expert in Gandharv Kala, which is the combination of Swara (notes), Tala (rhythm), Pada (words) and marga (higher style of recital). The astapadi Prabandha compositions in words, raga-tala repertoire with melodious style of singing fascinate each listener. The simple Sanskrit language and frolic love affairs of Radha and Krishna set in classical music attract not only to the persons having knowledge in Sanskrit but also to the common people through its immense musical appeal. The Odia’s worship Gita Govinda manuscripts with their home deities. Most of the Odia’s sing Gita Govinda as morning and evening prayer. They also worship Sri Jayadeva as an incarnation of Lord Jagannath. The recital of Gita Govinda is one of the unavoidable Sevas of Lord Jagannath. Each Odia believes Lord Jagannath as their National God. They recite Gita Govinda regularly to propitiate blessings of Lord Jagannath. There is a belief that when someone recites Gita Govinda in sitting position, Lord Jagannath listens in standing position and when the singer is in standing position the Lord listens it in sitting position. Even it is said that once the Lord had come outside the temple to listen Gita Govinda from a gardener’s daughter in brinjal field. The style of Gita Govinda recital in Lord Jagannath temple has not lost its purity. As Gita Govinda is being recited in many parts of the country as well as abroad there is every possibility that original music may undergo a change. We, as his followers should try to maintain its purity. Sri Jayadeva has composed this illustrious Gitagovinda as per the specifications of Udramagadthi prabritti, Ardha Magadhi Padasrita giti, Bhinna swarasrita giti and navatalasrita giti. The songs of Gitagovinda are set to talas (rhythems) such as Rupaka Nisarah Jati Astatala, & ekatali, which are included in navatalas, commonly used in Odissi till to-day. The raga repertoire used in Gitagovinda such as Malava, Gurjjari, Vasanta, Ramakiri, Malavagouda, Gundakiri, Karnata, Desakhya, Desavaradi, Bhairavi, Varadi etc. are being recited in Lord Jagannath temple as well as all the corners of Odisha since 12th century. Can we not claim without oddity that these are native ragas of Odisha? After around 100 years of Sri Jayadeva, Sri Sarangadev has identified some of the aforesaid ragas as kriyangh or adhunaprasidha raga's. By the 14th century the ragas of Gitagovinda hadbecome so popular throughout India that Lochan kavi of Mithila distinguished these ragas as Jayadevai ragas because these were being recited, delineated and developed by Sri Jayadeva with distinctive musical entity. Gita means song and Govinda is a synonym for Lord Krishna. Go is the metonym for cow, world, heaven, veda mata, gayatri, vak (speech) and vani (voice). He who knows the theology of vak and vani is called Govinda. Sri Jayadeva has composed Gitagovinda in conjunction with his musical skill and magical vocal genres. At the outset he has paid auspicious salutation to the Goddess of learning, Sri Saraswati, who stays in his heart. In comparison with Umapatidhar, Sarana, Dhoi and Gobardhanacharya he has ranked himself as the best for his composition with sweet words, romantic and erotic sentiments, amorous love story of Radha-Krishna and above all aesthetic essence; the articulation of which imbues ecstasy and alacrity in each heart. Shri Jayadeva has again confirmed in the 12th canto that let the dilettantes know the theme of gandharva (art of music), skill of recital, essence of romantic sentiments, the art of writing lyrical poems and clandestine love affairs of Radha- Krishna from Gita Govinda. In Gitagovinda Sri Jayadeva has not only embellished his lyrical poems with music and melodious versifications but also with philosophy, metaphysics, ontology and mysticism. His music is meant not only for the purpose to please but to enlighten through entertainment creating aesthetic emotions, a sense of spiritual love,
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